by Mike Hoban

 

A CHRISTMAS CAROL – Based on the novella by Charles Dickens. Adapted by Jon Kimbell, David James and David Zoffoli; Directed and Choreographed by Kevin P. Hill; Music Direction by Milton Granger; Original Scenic Design by Howard C. Jones ; Costume Design by Paula Peasley-Ninestein; Lighting Design by Jack Mehler; Sound Design by Leon Rothenberg. Presented by Bill Hanney’s North Shore Music Theatre (NSMT), 62 Dunham Road, Beverly, through December 23.

 

‘Tis the season, and the North Shore Music Theatre once again rolls out its annual “spirited” retelling of the Dickens classic, “A Christmas Carol – A Musical Ghost Story”. The NSMT version, now in its 26^th year, features a healthy dose of scary stuff that would make it equally well suited for Halloween, and also approaches the yuletide classic from a different point of view by providing narration from what appears to be an adult version of Tiny Tim.  And this hugely entertaining production dazzles while still retaining the timeless and poignant message about the redemptive possibilities of humankind.

 

As the story opens, we see the joy that the Christmas season is bringing to the streets of London – for everyone but Scrooge, of course – as the company belts out traditional as well as less familiar Christmas songs to establish the holiday atmosphere. But when two men raising funds come to Scrooge’s office soliciting funds for the disadvantaged, and we hear Mr. Scrooge’s views on the less fortunate (“If they would rather die, then they had better do it, and decrease the surplus population”) we know we’re dealing with someone for whom “cold-hearted” doesn’t begin to tell the story (but who could probably win a seat in Congress in some states).

 

Scrooge’s journey into humanity begins with an encounter with his old business partner, the seven years dead Jacob Marley. NSMT pulls out all the stops on the horror meter, providing us with a truly ghoulish, flying Marley (a bombastic Will Ray) who drags his massive “chains he forged in life” across the stage as Scrooge cowers in the corner, seeking the mercy that he himself would never show a fellow creature. But under the threat of eternal suffering, he accedes, and the painful healing process begins, courtesy of a trio of outsized spirits. The first is a rather stunning Ghost of Christmas Past (Boston favorite Leigh Barrett, who also ably doubles as Mrs. Cratchit) who takes Scrooge back to his childhood following a beautiful rendition of “Dream Within a Dream” (fittingly based on an Edgar Allen Poe poem). Christmas Past (Peter S. Adams) is equally impressive, a jolly giant of a man/spirit, who gives Scrooge a dose of income inequality reality via a trip to the Cratchit’s home; as is the Ghost of Christmas Yet to Come, whose horrifying predictions frighten Scrooge onto his spiritual path.

 

NSMT staple David Coffin, in his 23^rd consecutive year as Scrooge (but who also submitted a brilliant turn as Doc in this season’s “West Side Story”) again delivers a Scrooge for the ages, transforming from a bitter and heartless cretin into a loving uncle and humanitarian. The music is mostly traditional songs, with some familiar ones like “God Rest Ye Merry Gentlemen”, “Here We Come A-Wassailing”, and “We Wish You A Merry Christmas”, but there are some highly effective obscure tunes, including “Isn’t It Grand Boys” an old English music hall tune sung by Mrs. Dilbur (the scene stealing Cheryl McMahon, also in her 23^rd production), the housekeeper who robs him upon his death, and her slimy cohorts. The number is a highlight in a show filled with some spectacular staging, and the singing is consistently well done throughout. The orchestra is also a plus in this production, with sections and individual players scattered throughout the theater.

 
The musical numbers and the extravagant enhancements to the show do not detract in any way from the simple message of the story: that living only for oneself is a sad and lonely existence. The non-musical portions of the story are as compelling as any movie version, as we see Scrooge transform from a heartless miser into a loving human overnight. Coffee really embodies every Scrooge I’ve ever seen and his performance is remarkable. The cast is uniformly strong, with Leigh Barrett a standout, especially vocally; and Tommy Labanaris as the adult Tiny Tim and Joshue Gillespie as young Tim especially memorable.

 

If you haven’t got Christmas in your heart yet, this season, the NSMT may be just the place to get it. For more info, go to: http://www.nsmt.org

Reviewed by Tony Annicone

 

Bill Hanney’s North Shore Music Theatre’s holiday show this year is the 26th Anniversary production of “A Christmas Carol, A Musical Ghost Story which is an annual favorite. This version of this well known story was written by former NSMT artistic director Jon Kimball which he adapted back in 1989. As Jon explains “A Christmas Carol” is a timeless story that still resonates with people of all ages and carries a message that is genuine and poignant now as when it first was created back in 1843. This musical version definitely captures the true meaning of the holiday season for one and all. David Coffee returns in triumph to play Scrooge for the 26th time. Audiences have luckily seen David in “Singing in the Rain” and “West Side Story” this season and as always they are beyond thrilled that he is playing this iconic role once again. Current artistic director Kevin Hill helms this year’s presentation of everyone’s favorite holiday show. “A Christmas Carol” tells the well known story of curmudgeonly miser, Ebenezer Scrooge, who is visited by the ghosts of Marley, Christmases Past, Present and Yet to Come who hope to change his destiny and save his soul. Audiences are taken a trip with Scrooge as he takes a strange and magical journey that helps him recapture his exuberance for the true meaning of Christmas once more. Kevin and his cast and crew deliver the goods perfectly with special effects that are as splendid as are the marvelous musical numbers. Bill spares no expense in bringing this beautiful and heart warming tale to his audiences. Once again, it is a phenomenal success with the audience leaping to their feet at the curtain, moved to laughter and tears at all the appropriate moments. Bravo on a job extremely well done!

The special effects are dazzling and more astounding than ever this year. Kevin not only directs and blocks this huge show marvelously, he also choreographs high energy dances that captivate the audience, too. His keen eye for both comic and dramatic situations, bring out the best in these 30 performers. Although there are more comic bits this year, Kevin does not shirk on the pathos that is very important to this magical tale. He makes this the definitive version of “A Christmas Carol” that pleases audiences of all ages. Musical director Milton Granger conducts a ten piece orchestra and taught this enormous cast the lush and beautiful harmonies of these Christmas songs. The choral effect sounds better than ever. David Coffee delivers a tour-de-force performance once again. He, for my seventh time of my seeing this show, is as phenomenal as ever as Scrooge. David mines the many layers of this character perfectly from start to finish. His comic moments include yelling at his nephew, Fred, his employee, Bob Cratchit, the almsmen and the carolers to shut up when they start to sing in his office. But it is the dramatic moments that will enthrall you thoroughly. They include Fan’s death, the break up with Belle, the astonishing transformation sequence and the death of Tiny Tim. These segments tug on your heartstrings bringing you to tears, no matter how many times you see this show. David makes you believe that Ebenezer has learned from the past, present and future on how to become a better man. The audiences in Beverly could get no better actor than David Coffee to embody this character all these years. Bravo on delivering an outstanding performance to one and all whether it’s your first time, seventh time or more in seeing this magnificent production.

Tommy Labanaris returns for his role as the Narrator for the third year. He does an incredible job as this poignant character. I last review Tommy as the leading character in “Avenue Q” this past summer. He displays his powerful voice in the opening number and especially in the emotionally draining “The Little Child” about Tiny Tim’s death. He and the incomparable Leigh Barrett sing this song together and there isn’t a dry eye in the house. Later on a surprising revelation is given at the end of the show that will also leave you in tears when you find out the hidden secret at last. Two acrobatic dancers called the Pearlies are portrayed by Brady Miller and Brad Trump. They sprinkle their magical dust throughout London while spooking Mrs. Dilbur, transporting Scrooge and the other spirits around town. Their magical dust puts everyone into the Christmas spirit. Both Brady and Brad are phenomenal dancers. Will Ray is dynamic as Jacob Marley and he scares the crap out of Scrooge and the entire audience and is one of the best acted Marley’s I have ever seen. Marley hovers over the audience while warning Scrooge to reform his ways unless he wants to share the fate Marley has suffered these past seven years. Marley exits into hell at the end of the scene. The special effects and pyrotechnics are by ZFX and are stunning to behold. Will previously played Jean Valjean in “Les Miserables” and Warner in “Legally Blonde” at NSMT. It’s good to see him back here in Beverly once again.

The three ghosts are lead by Leigh Barrett as Christmas Past. It is her sixth year with this musical and she makes every role she plays fresh and new with each performance. Leigh is striking red head with a glorious soprano voice that is crystal clear in her beautiful opening number “A Dream within a Dream” where she’s backed up by two girls. She chides Scrooge as they watch the scene between Fan and boy Scrooge as well as at Fezziwig’s party when he used to love Christmas. Sophia Wulslin  plays Fan and Jake Flynn plays Boy Scrooge. Both of them have played Tiny Tim with her in 2013 and him in 2014 & 2015. Both of them have oodles of talent at an early age. As a matter of fact, Jake was just cast as Charlie in “Willie Wonka” on Broadway and the show opens in March. Andrew Tighe plays Young Scrooge while Britney Morello plays Belle. They shine in their roles and especially in the break up scene while Tim McShea plays the best friend, Dick Wilkins. Peter Adams is fabulous as Christmas Present. He towers over everyone while on stilts and possesses a phenomenal tenor voice which knocks your socks off. His voice soars in “The Boar’s Head Carol” and “The Gloucestershire Carol.” Andrew also portrays Christmas Yet to Come who transforms himself into a statue of Young Scrooge during the transformation sequence. He scares the crap out of Scrooge by convincing him to reform his ways. I last reviewed Andrew as Jimmy in “Thoroughly Modern Millie” in July at Reagle Music Theatre. The biggest scene stealer in this show is Cheryl McMahon as Mrs. Dilbur and Mrs. Fezziwig. Some of her comic moments as Dilbur come when she is scared by the Pearlies with a blanket flying off the bed, Scrooge’s coat being hurled at her and then she holds a crucifix out to ward off the evil spirits. She also does an energetic polka as Fezziwig’s wife with J.T. Turner as her jolly husband. Cheryl is a superb actress and these two roles are some of her best work which she’s been portraying for 23 years.

Bronson Norris Murphy returns for his fourth year of playing Fred in this show. He is tall, dark and handsome and is as marvelous as Fred as he was as Tony in “West Side Story” earlier this season. He displays a magnificent tenor voice with Britney Morello who also plays Meg has a fabulous soprano voice in their song “Tomorrow Will be My Dancing Day.” Their voices blend together marvelously. I last reviewed her in “Nine” at Speakeasy Theatre back in 2010 and she was in the ensemble of “Les Miserables”. Bronson also has some comic moments in the opening when he encourages the young carolers to annoy his cantankerous uncle and again in the present when Fred describes his Uncle’s bad behavior to his guests. The Cratchit family shine in their roles, too. Russell Garrett returns as Bob for the fifth year. He handles the comic and dramatic moments splendidly. His comic moments take place in the opening scene, the first family scene and at the end of the show when Bob faints when Scrooge gives him a raise. His best dramatic moment occurs during the death of Tim sequence. Leigh Barrett also plays Mrs. Cratchit marvelously. She sings the poignant “The Little Child” with the Narrator which is a gut wrenching moment for the audience. Joshua Gillespie who is eight years old plays Tiny Tim. He displays his strong voice in “I Saw Three Ships” and his “God Bless Us Everyone” is well done, too. Returning as Martha for her fourth year is Jillian Furber and returning for their second year are Cameron Perrin as Peter and Haven Pereira as Belinda. They display the right amount of comedy and pathos for these roles. Cameron’s bible passage reading is heartfelt and well done, too. Another comic performer is Brian Padgett who is fantastic as Old Joe. His phenomenal voice stops the show with merriment and hilarity in his vaudeville number “Isn’t It Grand Boys?” with Cheryl as Mrs. Dilbur. So for a magnificent production of this well known tale, be sure to catch “A Christmas Carol, A Musical Ghost Story” right here at North Shore Music Theatre before Scrooge and his cohorts fly out of town for good. It will definitely get you into the Christmas spirit at any age. Run do not walk to the box office before all the tickets are sold out. Tell them Tony sent you.

A CHRISTMAS CAROL (9 to 23 December)

North Shore Music Theatre, 62 Dunham Road, Beverly, MA

1(978)232-7200 or www.nsmt.org

 

 

 

 

Reviewed by Tony Annicone

 

New Repertory Theatre’s winter show is “Fiddler on the Roof.” Director Austin Pendelton, who was the original Motel on Broadway, breathes new life into this show. At times making the comic moments overpower some of the dramatic ones. The threat of the outsiders is watered down in this production at the end of Act 1 when everyone should be terrified of them. This musical takes place in Tsarist Russia in 1905 and is about a milkman, Tevye and his wife, Golde and their five daughters, his attempts to maintain his family and religious traditions while outside influences encroach upon their lives. The original Broadway show opened in 1964 and was nominated for ten Tony Awards, winning nine including Best Musical, score, book, direction and choreography. It remains Broadway’s sixteenth longest running musical in history and was the longest running musical for ten years. The expert musical direction is by Wade Russo who brings out the best vocal quality in his cast while choreographer, Kelli Edwards creates some splendid dance numbers to entertain the audience. The talented performers shine in their roles.

From the comic “If I Were a Rich Man” and “The Dream” sequence to “Sabbath Prayer”, “Sunrise, Sunset” and “Anatevka”, the musical numbers are splendid in this show. Austin has too much tongue in cheek moments and has the fiddler on stage as part of the action when he should be more unobtrusive. The best dramatic moments are with Tevye and Hodel as well as Tevye and Chava which tug at your heartstrings and is the heart and soul of this production. Wade conducts his 8 piece orchestra and they sound splendid, too. He taught the cast some gorgeous harmonies which soar especially in “Sunrise, Sunset” and “Anatevka.” Kelli’s dance numbers are marvelous especially “Tradition”, “Matchmaker”, “To Life” and the wedding dance and the athletic bottle dance. Leading this 26 member cast is Jeremiah Kissel as Tevye. He brings perfect comic timing to this role as well as the warmth it needs. His relationship with his wife and daughters are excellent. Jeremiah’s vocal prowess shines through in his strong delivery of his songs. His rendition of “If I Were a Rich Man” stops the show with laughter. His rendition of “Tradition” and his duets with Golde including “Sabbath Prayer”, “The Dream”, “Sunrise, Sunset” and “Do You Love Me?” are superb, too. His incredible poignant moments occur with Hodel in her solo and with Chava in “Little Bird” which brings tears to your eyes while the comic “To Life” and “The Dream” will leave you rolling in the aisles with laughter.

Amelia Broome as Golde, has a lot of chemistry with Jeremiah and shines in this role with her acting prowess. I last reviewed Amelia as Mrs. Lovett in “Sweeney Todd” and she delivers a strong performance in this role, too. She has the best singing voice of any Golde I have seen. Her adversarial relationship comes across splendidly and her admittance of love after twenty five years is topnotch, too. Amelia displays her soprano voice in the duets with Jeremiah. One of her funniest lines comes when she yells at Tevye after his drunken spree. Amelia displays the dramatic side of Golde when she implores Teyve not to disown Chava after marrying outside her faith. The young couples act and sing beautifully, too. Abby Goldfarb as Tzeitel and Patrick Varner as Motel deliver fantastic performances as the eldest daughter and her true love. Her strong singing voice comes through in “Matchmaker” and her interactions with her sisters are excellent, too. Patrick is hilarious as the timid, Motel who becomes the mouse who roars later in the show when he performs his solo “Miracle of Miracles”, displaying his strong baritone voice. Austin gave Patrick the strongest direction of the 3 young men in this show.

Sarah Oakes Muirhead as Hodel does an awesome job with her role. Sarah’s soprano voice soars in “Matchmaker” and is especially gorgeous in the gut wrenching “Far from the Home, I Love” which is one of the prettiest songs in the show. Ryan Mardesich does a good job as the outspoken revolutionary and displays his strong tenor voice in “Now I Have Everything”, one of the most difficult songs in this musical. Perchik comes alive in this song but Austin has him too laid back earlier in the show. Both of them display their dancing prowess in the wedding scene. Victoria Britt is fabulous as Chava and Dan Prior as Fyedka is wonderful. Victoria sings “Matchmaker” with Abby and Sarah and gets to tug at your heartstrings in “Little Bird” and the confrontation scene with Tevye when he disowns her. This is the best dramatic scene in the show. Dan Prior as Fyedka displays his tenor voice in the Russian section of “To Life”.  Austin should have made him more forceful in the reprimand of Sasha scene when Fyedka defends Chava from the Russians. The dancers in the bottle dance are fabulous.

One of the funniest performers is Bobbi Steinbach as Yente. She steals many a scene with her caustic one liners. Bobbie’s long speeches are brilliant and she also delivers the goods in “The Rumor” song in Act 2. David Wohl is also comical as Lazar Wolf who wants to marry Tzeitel. His voice is heard with Jeremiah in “To Life” scene. Two other comic performers are Alyssa Rae Surrette as Fruma Sarah and Jocelin Weiss as Grandma Tzeitel as they sing in “The Dream” scaring the wits out of Tevye and Golde with their comic antics. The two youngest daughters are well played by Gabriella Ettinger and Carly Williams. So for a different take on this classic musical, be sure to catch “Fiddler on the Roof” at New Rep before the bottle dancers and Tevye dance their way out of Watertown for good on January 1.

FIDDLER ON THE ROOF (2 December to 1 January)

New Repertory Theatre, 321 Arsenal Street, Watertown, MA

1(617)923-8487 or www.newrep.org

 

 

By Mike Hoban        

 

“Fiddler on the Roof” – Based on Sholem Aleichem stories by special permission of Arnold Perl; Book by Joseph Stein; Music by Jerry Bock and Lyrics by Sheldon Harnick; Original Choreography by Jerome Robbins; Directed by Austin Pendleton; Music direction by Wade Russo; Choreographed by Kelli Edwards. Presented by the New Repertory Theatre at the Charles Mosesian Theater at 325 Arsenal St., Watertown through January 1^st.

 

“Fiddler on the Roof” is truly a brilliant piece of American theater, because it works on so many different levels. The show debuted in 1964 and was once the most successful musical in Broadway history (running for over 3,000 performances and copping nine Tonys) – and it’s easy to see why. Not only does it feature a brilliant score and a book that simultaneously tells the story a loving father attempting to deal with a cultural heritage that is rapidly breaking with the old ways (and a political one that is descending into horror), it’s also loaded with Borscht Belt humor that still works well today (“May God bless and keep the Tsar… far away from us!” says Tevye, the story’s protagonist). New Rep has mounted a terrific production that functions beautifully as entertainment, but as artistic director Jim Petosa noted before the opening of the show, there’s a “new found resonance” for the piece in light of recent political events.

“Fiddler” opens with Reb Tevye (Jeremiah Kissel), a dirt poor dairy farmer with five daughters (and no sons), explaining to the audience how life works in his little Russian Jewish village of Anatevka during Tsarist rule, about a dozen years before the revolution of 1917. The village is largely isolated from the goings on of the outside world and the villagers lives are run in accordance with their orthodox religious philosophy and of “Tradition” – the show’s first big musical number. Tevye is apparently on a first name basis with God, whom he conveys his disappointments to, asks guidance from, and occasionally makes a humble request of (in the Broadway standard “If I were a Rich Man”, which Kissel really makes his own).

Local matchmaker Yente (played with comic verve by Bobbie Steinbach) has good news for Golde (Amelia Broome), Tevye’s beleaguered wife. The well-to-do butcher Lazar Wolfe, lonely after his wife’s passing, has his eye on their oldest daughter, Tzeitel, and he wants to ask Tevye for her hand in marriage. There are a few complications, however. Lazar is at least twice Tzeitel’s age and Tzeitel plans to marry poor tailor Motel Kamzoil (a wonderfully cast Patrick Varner), her sweetheart since childhood. This sets the stage for another hit tune/dance number from the show, “Matchmaker, Matchmaker” where the three girls examine the pros and (mostly) cons of having a marriage arranged for them by Yente.

Tevye initially agrees (in the lively song and dance scene “To Life”) to allow Lazar to marry his daughter, and there is great drunken celebration by the men, but in the first sign that traditions, customs, and life itself are subject to change no matter how desperately we wish to cling to the familiar, Teyve relents and lets his daughter follow her heart. Which sets the stage for the wedding and another American standard, “Sunrise, Sunset” before the play turns darker when both local infighting and nationalist politics rear their ugly heads.

The show is full of great production numbers, and in addition to the aforementioned Broadway “hits” there’s the vastly underrated heart-tugger, “Do You Love Me”, a question posed by Tevye to his wife after 25 years of an arranged marriage and answered in duet by Golde. The cast is solid and cohesive, and the three oldest daughters – each of whose non-traditional method of choosing their husbands causes their father much turmoil – are one of the real strengths of the production, with Abby Goldfarb as Tzeitel, Sarah Oakes Muirhead as Hodel and Victoria Britt as Chava. The trio shine in the “Matchmaker” number (playfully choreographed by Kelli Edwards). Muirhead, who is a bonafide rising star, also delivers a magnificent interpretation of the heart-wrenching “Far From The Home I Love”.

But like many great musicals, what makes “Fiddler” such a great work is not the collection of individual performances but the brilliance of the piece itself. The book and score present a series of complex relationships where love wins out in spite of difficulties, set against the backdrop of a cold world that is about to get a lot colder. This is a first rate production of a classic American musical. For more info, go to: http://www.newrep.org/

By Michele Markarian

 

Journey to the West – Adapted by Mary Zimmerman, from the translation by Anthony C. Yu of Hsi Yu Chi. Directed by Lee Mikesha Gardner. David Fichter, Scenic Designer & Painter; Leslie Held, Costume Designer; John R. Malinowski, Lighting Designer; Judith Chaffee Choreographer.Presented by The Nora Theatre Company and Underground Railway Theater, 450 Massachusetts Avenue in Cambridge through December 31.

 

Looking to take your mind out of the post-Trump slump?  Look no further than Central Square, where Nora Theatre Company and Underground Railway Theater present the sumptuous Journey to the West.  For at least two and a half hours, you will be blessedly relieved of bad cabinet choices, orange hair and the Supreme Court – okay, I’ll stop there.  As a piece of blissful, flowing, often funny theatre, Journey to the West delivers pure pleasure, beautifully directed by Lee Mikeska Gardner.

Based on one of the Four Great Classical Novels of Chinese Literature, Journey to the West tells the story of a Buddhist monk, Tripitaka (Jesse Garlick) and his three unruly disciples, the Monkey King (Lynn R. Guerra), Pig (Shanae Burch) and Sha Monk (Harsh J. Gagoomal), who must travel to the West in search of three Buddhist scrolls with scriptures. They have been warned that the journey will be arduous and long, and fraught with no more and no less than 81 perils. Along the way, they meet many characters, some dangerous, some pathetic, some comical, all of them interesting.

And beautifully adorned!  Leslie Held’s costumes are remarkable, from the Dragon King’s stunning tail to the Death Girls’s (I can think of no other names for these two characters, but I loved them) Goth-chic ensembles.  There is also a scene with a monster that I won’t give away, but the costume is startling and scary. David Fichter’s set is a work of art; two colorful courts on either side of the long stage, with a bare white floor, calling to mind rice paper or a scroll, in between. Long flowing cloths augment the piece.

Lynn R. Guerra perfectly embodies the role of Monkey King, vocally and physically. The role is a physically demanding one, requiring agility, strength, and balance, which she accomplishes with seeming ease. Jesse Garlick plays Tripitaka, the monk, with a nice balance of courage and fear. Shanae Burch is very funny as Pig, and Sophorl Ngin brings elegance and grace as Buddha. The supporting cast is excellent, playing a variety of roles so well that it’s actually surprising to read the program and see just how small the cast really is. Ryan Meyer’s compositions complement the script both with harmony and tension.

At a little over two and a half hours long, Journey to the West might not be appropriate for younger children, although there seemed to be enough interesting and action-oriented things onstage to keep the two kids (ages maybe 7?  8?) that were attending the night I saw it entertained.  Despite the Buddhist nature of the tale, one might be perceived as high-minded, there are some very funny moments.  And while I was able to put the current state of America easily on the back burner, it was refreshing to see that despite 81 harrowing dangers and a 16-year long journey, our heroes manage to complete their task and gain enlightenment.  Isn’t that the best that any of us can hope for? For more info, go to: https://www.centralsquaretheater.org/shows/journey-to-the-west/

 

 

 

 

 

by Mike Hoban

 

“Murder for Two” – Book & Music by Joe Kinosian; Book & Lyrics by Kellan Blair; Directed by A. Nora Long; Music Director, Bethan Aiken; Choreography by David Connolly. Presented by The Lyric Stage Company of Boston at 140 Clarendon Street, Boston through December 24.

 

“Murder for Two”, the clever little two hander musical now being staged at the Lyric, is one of the really pleasant surprises of the early theater season. I must admit that in the opening minutes of the show, I found myself wondering if I were going to be in for a long and torturous afternoon of glib cabaret. The set was relatively bare, save for an upright piano and a few gallons of blood that had been spilled across the stage floor to depict a murder scene, so it looked like was going to be two actors belting out droll vaudeville-style piano tunes for 90 minutes. Thankfully, I was dead wrong (pun intended). Director A. Nora Long has crafted a fast-paced and very funny version of this Off-Broadway hit, featuring Jared Troilo and relative newcomer Kirsten Salpini, who also accompany one another on piano throughout the show – no mean trick considering the show’s upbeat tempo.

 

As the story begins, we find that crime novelist Arthur Whitney has been shot dead at his own surprise birthday party, and all of the guests are suspects. Arranged by his Southern belle (and bitter former stage performer) wife Dahlia, the party list includes the seductive ballerina Barrette Lewis, who was having an affair with the deceased; Dr. Griff, the town psychiatrist who conveniently happens to be treating each of the suspects; the Murrays, a bickering neighbor couple; Whitney’s niece Stephanie who, serendipitously enough, is working on her graduate school thesis: “How to Assist in the Solving of a Small-Town Murder”; and a boys choir that is a dementedly inspired cross between Our Gang and the Bowery Boys, and whose response to the detective who thinks the boys may be traumatized by the presence of the bloody body on the floor is: “We’ve seen a lot woise”.

 

Officer Marcus Moscowicz, a small town New England cop with a dream of becoming a detective, is the first to arrive on the scene (with his offstage partner Lou). Marcus sees this murder as his big chance at a promotion, but he’s only got ninety minutes to solve the case before the real detective shows up. In order to let his superior officer know what a great job he’s doing with the investigation, he keeps “accidentally” pocket dialing him on his cell phone, beginning with his opening number “Protocol Says”,  which amusingly details exactly how to run an investigation.

 

What makes this show work so well is its leads, Troilo and Salpini. The original and subsequent productions of “Murder for Two” (it was first performed in 2011) featured two male actors, but it is the chemistry between Salpini and Troilo that make this musical sing. Troilo (who was terrific as the spurned Freddy in the Lyric’s outstanding “My Fair Lady” last season) is convincing as the insecurity-driven Moscowicz, and he anchors this production with aplomb. But it is the performance by Salpini that elevates the show. Utilizing a combination of outsized silly accents and identifying physical movements, she plays the entire roster of suspects (including dropping to her knees to portray all of the boys choir parts), adroitly switching characters at breakneck speed while still managing to adopt their distinct mannerisms. While she has largely been seen as an ensemble member in her time in Boston, one hopes that this performance lands her in more featured roles. She’s that much fun to watch.

 

This is a really fun show, full of lots of dopey jokes (as well as some more outlandish humor) and appropriate for all ages. At ninety minutes it’s a great little escape vehicle from the expectations of the holiday season. For more info, go to: http://www.lyricstage.com/

 

“A CHRISTMAS CAROL”

Reviewed by Tony Annicone

 

Mansfield Music and Arts Society current holiday production is a special one man presentation of “A Christmas Carol” adapted from the Dickens original text. “A Ghost Story of Christmas” was performed by Charles Dickens on his American tours between 1842 and 1868 where he traveled by stagecoach and railroad, performing to standing room crowds. His great-great grandson, Gerald Charles Dickens continued his legacy with tours to Boston and other cities in the 1990’s while later on Patrick Stewart performed another one man version on Broadway. Gary Poholek presents his original take on this well known tale which he has been performing and perfecting since 2001. I saw him perform this version twice before and once again Gary delivers a knock out, tour-de-force performance. He now interacts more with the audience but delivers the goods in spades as he plays every single role in this show with brilliant and stunning interpretation of each and every character. Bravo on being the definitive Scrooge for all season!

Gary is dressed in Victorian attire and starts out narrating the story, emphasizing that Marley was dead to begin with, otherwise the good things that follow would not have taken place. After this narration, Gary becomes each one of the characters including Scrooge, Marley, the three ghosts and about 18 more characters. He switches from one to another as if he were the other performer speaking to the former. He is the current day Sybil, a movie that starred Sally Field in which she had multiple personalities. Gary memorized this entire hour and a half script. He uses many different voices as these characters including Ed Wynn when he plays Fezziwig. He interacts with the audience bringing them into the story utterly and completely. He runs the gamut of emotions from comic to poignant and his performance is flawless. Gary brings even the most hard hearted person into the Christmas Spirit with this mesmerizing performance. It is an outstanding piece of theatre. Before the show, local vocalist Kevin Mischley directs and leads fellow vocalists including his lovely wife, Jennifer, his talented children, 11 year old son, Warren and 9 year old, Greta who sings a verse of “Silent Night” splendidly, Brian Gustafson, Shannon Stiles and Ken Butler in several Christmas Carols including “Deck the Halls”, “What Child is This?”, “Silent Night” and “God Rest Ye, Merry Gentlemen.” The sound is expertly handled by Bruce Webster while the lighting cues are handled expertly by Alan Conway. Both sound and lighting are integral elements in Gary’s transitions from one role to the next. So for “A Christmas Carol” that will amaze and astound you with the multitalented Gary Poholek as Scrooge and company, be sure to catch this one man show in Mansfield. Tell them Tony sent you to catch this enthralling ghost story.

A CHRISTMAS CAROL (9 to 18 December)

Mansfield Music and Arts Society, 377 North Main Street, Mansfield, MA

1(508)339-2822 or www.mmas.org

 

“THE BEST CHRISTMAS PAGEANT EVER”

Reviewed by Tony Annicone

Attleboro Community Theatre’s holiday presentation this year is “The Best Christmas Pageant Ever.” The show is hilarious from start to finish as anyone who ever sat through Sunday school can attest to. The premise is that the director of the play, Mrs. Armstrong who is well played by Jo-Ann Vaughn, has broken her leg and can’t direct the pageant. It is based on the 1971 book by Barbara Robinson. It tells the story of Imogene, Claude, Ralph, Leroy, Ollie and Gladys, six delinquent children named the Herdmans who are engaged in misfit behavior for their age including smoking, drinking jug wine and shoplifting. They go to church for the first time after being told the church offers snacks. Despite protests from other church members, they are given roles in the Sunday school’s Christmas play, in which they tell the Christmas story in an unconventional fashion. Director Jeanne Smith casts a multitude of people in these roles including many children and they do a bang up job with this funny Christmas story.

She is aided by musical director Barbara Lee who taught the children the Christmas carols in Act 2. Jeanne’s daughter also creates a very beautiful stained glass window that is lit up during the pageant, providing a miracle that the show goes off without a hitch, leading the harshest critics to exclaim that this is the best Christmas pageant ever. Mrs. Armstrong enlists Mrs. Grace Bradley to help out and take over direction of the show. Her daughter, Beth Bradley is the narrator of the show and is the voice of reason. She is wonderfully played by Jasia Mackey.  Her brother, Charlie who spills the beans to the unruly Herdmans is well played by Riley Sparks. Their long suffering parents are excellently played by Megan Ruggiero and Brandon Harrington. After many trials and tribulations, she manages to pull the show off with some misinterpretations along the way which induces much laughter. The tough as nails, cigar smoking Imogene is well played by Abigail Terreault who plays Mary and cries during the manger scene. Her antics are priceless. Another scene stealer is Cadence Preston as Gladys who likes to say Shazam as the angel. She exclaims loudly to come and worship Jesus and pushes the shepherds over to him. She also drinks the altar wine which is also very comical. Shawn Oravec as Ralph, Michael Coburn as Claude, Ryan Dilisio as Leroy and Garion Havens as Ollie are also very as the Herdman family who transform themselves after the pageant to be bettered behaved. Morgan Gariepy is also a hoot as the prim and proper Alice who usually plays Mary. She writes down everything she finds wrong in a small notebook. Let me just say this show has to be seen to be enjoyed. Kudos to the whole cast and crew for providing a family friendly show that audiences can savor and enjoy during this holiday season. So for a Christmas show that will definitely help you usher in the Christmas spirit, be sure to catch “The Best Christmas Pageant Ever” at Attleboro Community Theatre. Tell them Tony sent you.

THE BEST CHRISTMAS PAGEANT EVER (2 to 18 December)

Attleboro Community Theatre, 71 North Main St, Attleboro, MA

1(508)226-8100 or www.attleborocommunitytheatre.com

By Mike Hoban

 

“Mame,” – Music and lyrics by Jerry Herman; Book by Jerome Lawrence and Robert E. Lee; Directed and choreographed by Ilyse Robbins; Scenic Design by Katheryn Monthei; Lighting Design by Jeff Adelberg; Costume Design by Tyler Kinney, Music Direction by Matthew Stern; Sound Design by John Stone. Presented by the Stoneham Theatre at 395 Main St, Stoneham through December 23^rd.

 

Take a couple of powerhouse musical actresses (Kathy St. George in the title role and Mary Callanan as her boozy diva sidekick), throw in a supporting cast loaded with local and Boston favorites (Margaret Ann Brady, Ceit Zweil, Robert Saoud, and Will McGarrahan as well as musical comedy rising star Katie Anne Clark), and put them in the hands of awarding-winning director/choreographer Ilyse Robbins, and what do you get? A solid (if unspectacular) re-working of a classic Broadway show that sent the sold out crowd into the chilly night air with smiles on their faces. With music and lyrics by Jerry Herman (who also did “Hello Dolly” and “La Cage aux Folles”) and a compelling (and very funny) book by Jerome Lawrence and Robert E. Lee, Stoneham Theatre’s presentation of “Mame” hits all the right notes.

 

“Mame” tells the story of Mame Dennis, a well-off New York City bohemian who runs with an eclectic crew of intellectuals and artists from the Algonquin Table, whose philosophy is “Life is a banquet, and most poor sons-of-bitches are starving to death.” She has her party time interrupted when her 10 year-old nephew Patrick (Cameron Levesque) comes to live with her (along with his prudish nanny Agnes Gooch, ably played by Zweil) following her brother’s death. While she is pressured to bring up the boy in a proper, conservative lifestyle by appointed trustee Dwight Babcock (an appropriately rigid Sean McGuirk), Mame instead introduces him to a less inhibited way of living, including teaching him how to make a proper dry martini (which he unwittingly serves to Babcock in one of the evening’s funniest scenes). Mame’s best friend is Vera Charles (Callanan), a Broadway actress who, when not wowing audiences, is recovering from hangovers from Mame’s wild soirees.

 

Things get a little serious when Babcock gets his way and the child is enrolled at a boarding school (St. Boniface) in stodgy old Massachusetts, and then the Great Depression hits, ruining Mame and most of America. But Mame’s fortune soon turns when she meets the love of her life, southern gentleman Beauregard Jackson Picket Burnside (the weirdly charming McGarrahan), owner of the amusingly dubbed Peckerwood Plantation. His family is at first hostile to the northerner, but she wins them over with her plucky charm, culminating in a surprisingly subdued version of the title song by the entire cast. But her love life causes Mame to lose track of Patrick’s formative years, and much of the story in Act II concerns whether he will remain a bohemian at heart or marry into a stick-in-the-mud, ultra-conservative family.

 

St. George is well cast as the energetic and charismatic Mame, and the same can be said of Callanan, her brassy drinking partner. The two are at their best in the “Bosom Buddies” duet, a diss-filled ode to true friendship, and the pair work well together. St. George also delivers a terrific rendition of the show’s other hit, “If He Walked Into My Life”, and beautifully teams with Levesque (in a terrific turn as young Patrick) in the touching number “My Best Girl”. The supporting cast is uniformly strong, with Zweil’s performance of “Gooch’s Song” one of the evening’s highlights.

 

The only downside to the production is the show itself. For starters, the material is a little dated, as Mame’s supposedly wild lifestyle is actually pretty tame (minus the heavy drinking) by today’s standards. Some of the social stigmas seem archaic (like single motherhood), and the all too real anti-Semitic feelings on the part of the conservative society aren’t spelled out very well (how many in the audience under 60 knew that the term “restricted” once meant, “No Jews Allowed” ?). The score, while solidly crafted, has few great numbers, and the choreography isn’t particularly imaginative given the pedigree of director/choreographer and the talented cast. These are minor quibbles with the show, and Stoneham’s production of “Mame” delivers a pretty entertaining diversion from the steady stream of the usual holiday fare (although there’s a cute version of “We Need a Little Christmas” early on) that the audience clearly loved. For more info, go to: https://www.stonehamtheatre.org/